Creating an Abstract Still Life in Cinema 4D | Patrick Foley | Skillshare

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Creating an Abstract Still Life in Cinema 4D

teacher avatar Patrick Foley, 3D Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (42m)
    • 1. Introduction

      0:43
    • 2. Scene Prepping (Resolution)

      0:48
    • 3. Camera Setup

      1:11
    • 4. Objects Creation / Placement

      8:19
    • 5. Floor Placement

      3:22
    • 6. Lighting (HDRI)

      4:27
    • 7. Texturing

      9:19
    • 8. Displacement (Floor)

      7:23
    • 9. Render Settings

      1:35
    • 10. Post Work in Photoshop

      4:40
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About This Class

In this class, you will learn how to construct and bring to life an abstract still life. Using a carefully designed step by step process, you will also learn how to apply these techniques to branch out and great your own masterful works of art. 

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Meet Your Teacher

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Patrick Foley

3D Artist

Top Teacher

Hello, I'm Patrick. Many know me as Patrick4d. I've been creating photorealistic abstract renders in Cinema4d and Photoshop for awhile now and was overwhelmed at the support and buzz surrounding my social media. My work has been featured by Adobe, Photoshop, The Motion Designers Community,  and more.

So as a thank you, I've decided to share some of my knowledge. I will be releasing a new class every other month so hit the follow button and jump aboard!

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Transcripts

1. Introduction: [MUSIC] What's going on, guys? This is Patrick Foley. Welcome to my first official premium tutorial via Skillshare. Today we're going to be going through how to make one of these abstract renders that you often find on my Instagram. This one specifically that I'm making happened to get a lot of exposure and a lot of likes. So I assume this one you guys want to know about and how to make fairly something similar to this. We're going to be making this in Cinema 4D. You'll need Cinema 4D and Photoshop for this. As I'll be going through how to model it, texture it, light it, compose it. Even some Render Settings bump that out. Then after Photoshop, messing with the colors and stuff like that. So let's get into it. 2. Scene Prepping (Resolution) : Hi guys, so we just jumped in here in the Cinema 4D, let's start creating this thing. The first thing I'm going to go through is set in our resolution, making sure our composition is set correctly. What we want to do is get into the render settings. If yours isn't located here, if you didn't follow the first tutorial, you can grab by going over here. We're just go to the output and set to something low like 600 by 600. We'll eventually set that to 1080 by 1080, that's what I usually go by because that's the Instagram default size. But everything looks good here and we don't have to worry about automated collusion or global venation yet because that's just going to slow our [inaudible] down, because we want to see what these are going to look like first before we bump them out. 3. Camera Setup: First thing we want to do is set a camera. As you can see, I already created a camera here where we can start fresh. You're just going to click camera here and we're going to set that. As you can see, it's in the view port here, but it's not here, so I'm just going to click View, Use as Runner View, and get inside the camera. Now, both my external panel and my main window are set inside the camera, which is good. Right now, what we're going do is create a tag, Cinema 4D Tag and put a protection tag on the camera. Pretty much of that does is no matter how much I try to move the camera, I can't move it because it's being protected, which is good because for set inside the camera deep into our project and we like the way it looks, we don't want this thing being disrupted. What I'm going to do now is click the Camera, go to Object, and set the focal length to something like, let's go Tele for telephoto, and it'll be like a 135 millimeters, which is good because not only will it get much more in the frame, it'll be zoomed in more but it will help with the depth of field. We'll get to that soon. 4. Objects Creation / Placement: Right now we seem to be set and the first thing I want to do is start creating the objects for this render. If we go over here and select the capsule that gives us our first little object that we're going to be working with. If you want to change the display to something with the line so you can see the segments more clearly, that's totally fine. So what we're going to do is scale this down with the radius, you can see we're changing these values here, until it fits some that we like. I was going to go skinnier with these. Something like this and maybe change the height to around 160 and maybe the radius be somewhere around five and we might change these later once we get into more graph. But this looks good and some, something like this. As far as the segments goes, I'm happy with that. We may change them in the future, but totally fine right now. So the next thing we want to do is place this thing in a cloner. The cloner I'm going to use, I put mine right here. I set these buttons up here because I always use these buttons a lot. But usually good MoGraph cloner and you see a cleaner pops up in our objects panel here. We're just going to drag the capsule red on top. Of course you get three of these stacked on top of each other, but that's not even close to what we want. We're going to click to the cloner and change this mode from linear to grid away. I'll right off the bat, that makes everything crazy. Again, still not what we're looking for. We're going to scale down the whole cloner a decent bit. Just clicking "T" and dragging anywhere once you have the cloner selected, we're going to drag so we can barely see everything in the frame. That looks good. We're going to set the cloner, this middle value right here. We can set this to zero because we only want one row on the y axis. As we can see, we're getting closer to what we want here and changing this to 12 is the number I think I figured out before that I liked. You can click render instances here, which can help to run in time a little bit. You can change these from 12 and change from three to 12 on this axis too. Now we've got a pretty filled up little encapsulated square here, cube. Like a volumetric thing going on here. That looks much better than we had it and the next thing we're going to do is we like the way this looks so far, but it's not random enough and it's not organic looking enough. It just looks like we stack the sphere which we did. We're going to have the cloner selected and once we have that selected, we're going to go to MoGraph, Effector and Shader, or as I placed a right here. But for this, for the sake of this tutorial, I'm going to click the Shader here. As you can see, it all bubbled up because they're all being affected by the shader, which is great. But the next thing we need to do is add a noise to the parameter. Once we have the shader selected, we're going to click shading shader here and noise. Automatically you can see we are going to much randomness here, which is exactly what we want. Next thing we're going to do is go to the parameters. Instead of, we might go back to the scale in a second, but we're going to uncheck scale. They're not being affected anymore. We've got to say what do we want it to affect? Well, let's go effect that position for now and we're going to affect the why a little bit. By dragging this value up a little bit or down, you can see it's changing everything based on the y or based on the height. We're going to go to where we think this is cool, or we want to go where it's being affected enough. It's being affected enough here. Let's go to 65 centimeters. Looks good. To make this more uniform of a noise, we're going to go to the shading panel click "Noise." This noise is fine. You can use whatever noise is you want from the presets over here or upload your own image. But we're just going to stick with this noise for now and then go to the global scale and take this to 2,000. As you can see, we're getting much more of a wavy because these noise picture right here is much more, it looks much more like a gradient instead of a bunch of spikes and little piercing, black values and stuff like that. So we're getting a nice wavy texture and based on how we choose to move this value. That's how much we are getting this thing to be affected by it. Again, you can change this to however you want. If you go back to the Shader, what I might also want to do is affect the scale. Again, just to get some more randomness going on here. What I usually like doing is taking this value down until it gets to the negative and sometimes going way far past, you get much more of a cool-looking result, something like this. This is what I went for the last time on my Instagram. To switch this up, let's play with the shading, but the noise a little bit more. If we go back to the noise panel, if we change this down to maybe 1,500, you can see we're getting more variation here and that looks pretty cool. I'm pretty happy with this. You can do whatever you want. You can change these noises to whatever you feel like. But again, I'm happy with this one. We're going to stick with that and to get this centered again, we're going to just take the cloner and press ER keyboard to move the with this on the y-axis and just move this whole thing down. It looks pretty much centered or even below a little bit because we're going to be adding an object here and that's going to be centered. That looks good for now. Next thing we're going to do is add the ball. Abstract little ball here. So just adding a sphere from this window right here. Again, I place my buttons to have a sphere ready for me right there. But we're just going to take the radius down. Again, we don't have to worry about us messing up the camera view because we have this protection tag on here. We can see where this ball is and I just want to make sure that this is just lying above some of these grid marks here. Obviously we're settled on the top. We can see us moving this ball from here is getting us somewhere and it really doesn't matter because we're already being blocked from our view from these front tubes here. But if we wanted to move this over here, really wherever we think fits best and if we want to hop out of the camera, make sure we're setting our interview here and just hop out. If we zoom in here now we're not affecting the camera anymore. We're just literally seeing where our ball is in proportion to these things because we want to be somewhat realistic. Again, if you want this camera, these lines to disappear, just go to the camera and click this top bubble twice till it's red and that's just going to hide it from our view, but it will still be in the red and everything will be fine there. The next thing we're going to do is make sure this is just barely on top of these things, which it looks pretty good here. I mean, we're not getting any, especially from the view of the camera, we're not going to see anything sticking out of the ordinary. I might just create two of these balls and duplicate this. I could do Command C and Command V. We created another one and just move this to the right. Again, making sure these things are not being conflicting with the the tubes here and let's see. I think since we're actually going below these things, I can just scale it down to create more variation here. It looks cool and really whatever you want to do, if you want to create three, four. Whatever looks cool, do you them I like cool because it's sticking up. A decent amount of randomness here. We're going to hop back into the camera and let's say we're cool with that composition right here. For now, we're just going to keep it like this. 5. Floor Placement: The next thing we're going to worry about is making a floor. Just clicking a plane, making sure we got our plane set. As you can see, if our camera was set to the default classic 36, we'd have to stretch this plane out way bigger. Our depth of field would be much less shallow. If you want depth of field to be on 135 or something with a long lens, any photographers will know exactly what I'm talking about there. I'm actually going to get to the depth of field in a second. Now we just got to make sure we scale this up a little bit, so click "T", scale this up as much as you want. After this, we can click "E" on our keyboard and move it on the x and the z-axis here. Again, we're not moving on up. We're not actually moving it up at all, even though it looks like it, we're sticking on the x and the z. My goal here is just to fill up the actual render window. You see these little gray fainted areas marks our aspect ratio. Sometimes it's hard to see because they're so fainted. What you can do is click on your keyboard shift V, which pops up this viewport Window. If you go to "View", you can actually change the opacity of the borders. If you want to go a 100 percent that makes it much easier to see what you're working on here. If it's out of these borders when we're inside of a camera, it's not going to be in the render, so of course, we still have some rare there. I'm going to move these things accordingly. Hopefully, we don't have anything sticking out. It looks like I might have to scale this up a tiny bit more. But now we should be good. Of course, I don't really like using the grid too often. So I'm going to go to the filter and take the grids out. That looks better. Our composition looks pretty nice because we're centered. We can't move the camera now because we are in the production, but if we just want to move this up a little bit, and move the camera, scale this in a little more, and option middle mouse button and literally see where we are and try to send to this as much as we can. It's easier now because we have these black bars. I'm just going to go to where it looks like I'm pretty centered both horizontally and vertically. That looks pretty decent to me because I do want some of this stuff. This stuff is going to be in the foreground, which will be blurred out, and that's often the background will be blurred out, which creates for a nice cinematic, photorealistic render in the long run. This looks good for now. I'm actually going to save this as we speak. This will be tutorial render 1. I'm going to save it like that. Now we're good. It's always a good idea to save even before this could be done a decent of work already. The next thing we're going to do is work on lighting this thing before we start texturing it, assuming we like where this floor is, looks good. Scale this down a bit. This looks good. 6. Lighting (HDRI): Now we're going to work on this interactive render window in a second. If you click option R, this will pop up and obviously it renders very fast right now because we're on the physical and we don't have any ambient occlusion or google illumination checked on and really no texture is to make this thing runs slow. The first thing I'd say I'd do is go to ambient occlusion, already adding some shadows. Looks a little better and we're going to create a dome, an HDRI dome around this whole thing because of course, you can add a plane and make it illuminate and make this thing give off light, but it's much more realistic to me to create an actual dome around the whole thing, an HDRI image and make this thing actually looks like it's in 3D space in an actual environment. So that's exactly what we're going to do. We're going to click the sphere. If you go in here, just like any regular sphere. All you have to make sure you got to do is scale it up until you can not see it, until we're engulfed in this whole thing. If you jump out of a camera, you can see very clearly in a dome, which is great. We're going to jump up back in the camera inside the dome and nothing is different because we haven't assigned it any light. What we're going to do is create a new material here and drop it on the dome and to make it easier, we're just going to title this HDRI dome or title it light or whatever you want to do and obviously these are the three spheres, one, two, three, and here's the ground. So we can title this ground and that should be good for now. We're going to work on the light of the dome right now. We have this material selected and we're going to check off the color and the reflectance channel because we don't need it at all. Here's the first time you're actually going to see this thing being properly lit. We're going to check on global illumination. Notice this thing goes black because now we actually rely on GI lights and actually physical lights to light this thing because before it was just default light. What we're going to do is take the material that's applied to the dome and check on luminance and you'll see that everything is lit now. It looks nice, but it's really flat because it's literally being lit by 100 percent light from all angles. So there's not really any variation. We're going to jump back in the camera and create this variation. We're going to go to the luminance channel, texture, load image and I have a couple of images here. Tutorial textures in HDRI. Just sample images I'm going to use for this tutorial. For instance, something like this would work because it's a 360 degree image. It doesn't look like it's been altered too much. It looks pretty natural, the lighting looks nice and just anything like this really. Any image you can take by yourself via a 360 degree camera phone or whatever you want to do works totally fine. From what I figured out, it doesn't even have to be a 360 degree image to look nice because we're just lighting it and then people don't really understand looking at reflections if it's actually 360 degrees or not. It really doesn't matter, but we're going to use this image for now. So I'll click open and no. Already we're getting much more realistic light and you're going to actually understand and see this better once we start texturing these things. I'm just going to make sure this dome is where I want it, to make it the most realistic, see everything's that's actually happening is below. I'm going to take this dome, click it, and make sure we scale this thing or not scale it, my bad. Just move this up until we're happy with where this thing is. So I'm good with this and the last thing you want to make sure you do is under illumination tab here, just click GI area light because from what I've noticed it, it eliminates splotches in the long run. At least when you're using physical lights like plains or something like that. If you've ever experienced splotchiness in the pre-render or when you don't have enough samples, that definitely helps. Rule of thumb, make sure this is checked on. We're going to jump back in the camera here. Everything still looks good. These views are the same and we're going to work on texturing these things. 7. Texturing: The first thing I'm going to do is work on the spheres. So I'm going to create another material and type this sphere. For this tutorial just so we breeze through it, I'm going to apply this to every single sphere instead of making them all different. You can see now they're all white and so I'm going to texture this. For this one I'm just going to go with it and you can just see how I apply these textures. I'm not really going with any direction, but it's all about seeing my workflow and seeing how you guys can apply this to yourselves. First thing I do is add some reflection legacy, and I'm going to kill the default specular so delete that. As you can see these already look very realistic because they're being reflected by the HDRI, the ground and everything around it. You can literally see these tubes right here are being reflected very closely to it so that's exactly what we want. If you want to go for something like Chrome, I'm totally cool with that. The next thing we're going to want to do is add some bump to this. I have some bumps already set out, but for this we're going to use a noise. Already we're getting these cool little noises on this thing so we're going to use a different one for this. A noise I've found that works a lot on really subtle textures ,and if you want like a subtle scratch textures or something like that is poxo or poxo, whatever you say that. If you go look that, obviously these look much more natural and that's a good thing. So if we're going to bump, I'm going to set this to like 10. The strength, and the more subtle it is a lot of times the more realistic it looks. The only thing we have to worry about is maybe adding a scratch like this metal is being scratched off. I like to do that a lot with these renders so I'm just going to add another layer here. Oh, excuse me. You click on the layer we already have and go to layer mask and pretty much if you are familiar with Photoshop, which we'll be getting into later. Layer mask are pretty much an easy way to non-destructively remove and add and take off bits and pieces of layers that you don't want. That's exactly what we're going to do. We're going to take a texture here and I'm going to show you guys some pretty coo. When you think of textures, you think of something like this, or something like a texture of a pattern, or something like that, but you usually wouldn't think of something like this as a texture. We're actually going to use this image as the layer mask removal layer of the reflection so we're literally going to break the rules here. Again, this is just trying to get you to think outside the box because you really don't have to do everything really orthodox so we're going to click "No". As you can see, some of this textures being removed literally by the image we use at the HDRI so that's another cool thing you can do. We're just going to edit this little bit. If you click the image and maybe go up a bit, see, move the black points up. Now, we've got a pretty clean removal of this scratch. Again, really you can do whatever you want if you move the white points down, white points up, and this is just messing with it. A lot of times you can try to invert these colors the way you want. Sometimes they work out, sometimes they don't, not with every single image, but you see with this, this is starting to be pretty cool like a nice effect here. We can see some cool removal of this scratches here. It's literally just by playing with these values. You can get pretty cool inverses of the image, and scratches, and removal of the layers and if you remove the color, we literally just have black on the other side which looks cool as well. Again, all it has to do with what you're comfortable with, what you want to do. For this I might just use white and bump this up a little bit. Those textures are pretty cool to me, and if I wanted to do something crazy within the color channel, maybe just go with a checkerboard on the back just so these have a pattern to them. If I go like 10 by 10, cool. I'm fine with that and might as well have it like this or something. That looks cool to me. So literally just playing with certain values of certain things, it helps you rethink what makes things look somewhat realistic, photorealistic because even though this texture isn't realistic at all, we just made this up. It looks realistic based on the lighting we have. We're going to work on messing with these tube things here, or the pills, or whatever you want to call them. So we're going to make this texture called pills just so we know to apply this right here on the capsule. Again, it's all up to you guys what you want to do with this. I'm thinking add a reflectance layer again, reflection legacy, kill the default specular and bring this guy all the way down to 20. Then we're going to check on luminance, but of course, we're not going to have these bright like this. We're going to create some subsurface scattering and with that we're going to go to effects on the luminance channel and subsurface scattering. This creates for a really cool type of effect, and this is like creating candle, wax textures like that. It's hard to see sometimes, especially in this view, but for certain objects that you want to create later it's definitely the move. If you want to take this to 180, this should be good. It should be more than good actually. I'm going to move this down so this renders a little bit faster, and see how this looks. Got you. It looks good to me and we haven't even mess with the depth of field yet. Next thing we're going to do is work on this ground texture and because the subsurface scattering slows things down, I'm going to take it away from the capsules for now, but we're pretty confident in what those look like so we're going to work on the ground texture for now. Last thing we got to do, create texture for the ground. Let's title this ground and place it on the ground. Some people want to go with a white backdrop fill, it's totally up to you again. Again, this looks actually pretty cool, but for this we're going to give it a little bit of a texture. What I like to do first, let's add a reflectance and right off the bat it's going to be mirrored. Let's see how that looks. That looks very crazy because it's a little trippy. It's being mirrored by literally everything. What we're going to do is take this down a little bit. First, kill this default specular. Excuse me, take a drink real quick. The next thing we're going to do is take this value down. Let's say to 10 percent. Again, subtle is always nice and we're going to mess with the displacement. The first thing we're going to do is add that mud texture that we had. Again, you don't need these textures to achieve what I'm going for. You can take these pictures on your phone, especially since these phones have really nice resolution nowadays, especially iPhones. We're going to click "Sub Polygon Displacement" and because we only have a few types of segments here to work with sub polygon displacement isn't going to help us a lot. As you can see we're getting this cool texture here, and to really get a full effect of this texture, we're going to take these segments of the plane and go to something like 200 by 200. Again, this is going to really slow down our render so we're going to take this box down just so we can see what this floor looks like. From here that actually looks good so we're going to take the height down which also speeds up the render to two. That gives it a really cool texture and it's more than a bump because bumps, you can only get so much with. I think for this we won't even need a bump. We might add one a little bit. 8. Displacement (Floor): For now we're just going to mess. We were actually going to displace this actual plane now. By going to here and clicking displays here, we're going to drag this displays on top of the ground. It's being affected. Go to shader, and go to noise. Now we're affecting this in this way, plus affecting it what the displacement in the material. For this whatever we're using as the noise we're going to bump the global scale to like 1500. As you can see, no matter what the noise is now, we're only affecting this a little bit, which is very cool, and it's actually what we want. Even something crazy like this will look really cool with this. Let's see what this looks like. Again, this stuff takes time, but it's faster than it looks. I'm actually pretty happy with that. Let's see, we're actually looking at here. We just got to worry about maybe adding a little bit of bump, then after that we'll work on the depth of field. I'm cool with that. It looks really good. Next thing we can do is add a little texture to the color. I'm fine with having it just white, but it's always cool to add a little bit of a subtle pattern. A lot of times I'll go to surfaces and go to tiles. By default it gives you this really ugly looking patterns, so we're going to kill the grace to be black. Kill the reds to be white. I usually don't like any bevels so we're going to kill that. Go from patterns to something like lines. This gives us a really cool looking pattern here. Once it's revealed, you'll see what I'm talking about here. That looks very cool, and I'm happy with something like that, at least for this tutorial. Again, it's not confined. I'm excited to see what you guys sent me because it's those cool scene where you guys sent back after learning about these techniques and stuff. What we're going to do is kill this option R. This is what we're looking at here. We're going to go to our camera and set up the depth of field. The first thing you want to do is go to the physical tab in the Render Settings and checked up the field. Now we're actually enabling this. Because we are within a 135 millimeters, we're going to get a really nice shallow depth of field. We're going to focus this thing real quick. The easiest way to do this, there's a bunch of different ways. Click this button right here. Whatever you want, focus the most, you're just going to click on the image. I'd say about right here. Right around that ball, which is around these first few things here. If we step out of the camera, we see if we make this visible. We can see that this camera box ends right where it's going to be visible most or the least blurry. That's exactly what we want here. We're going to jump back into the camera here. Excuse me, let me take one more drink of water. Now the next thing we want to do is mess with the f-stop. Clicking on the camera again, we're going to go to the physical tab. This is very important in terms of the depth of field. People will have questions about, ''How do I make the background really blurry and the foreground really blurry?'' Well, we just setup where we want it to be focused and most which is right here. Well, how do we control how blurry the background is and blurry the foreground is. It's what this number right here. Camera users will understand this because if you own a DSLR camera or really any camera, you have to mess with the aperture or f-stop. I'm just going to tell you the easiest way to remember is the lower this number, the blurrier it will be. If you want a lot and focus, this number needs to be higher, and if you want a little bit and focus shallow depth of field, this number has to be really small. The good thing about this program is, the numbers go as low as around 1.2 unlike a 50 millimeter or something. You can be crazy with this program you go 0.6. You can be unrealistic with it and it'll be very blurry and very cinematic. For something like this, an f-stop of around one should work, because again, the longer the lines we use, the higher this number can be. Because we wanted blurry, but we don't want to really blurry. We can't see anything. This should be good. If we want to test this real quick. Another good way of testing it is by creating a render region. I like seeing it on the big view-port sometimes. I'm going to go over here and kind of seeing what this creates. That's looking really nice. We might even need less stuff the field. Because this is really shallow, it looks really good. I'm really happy with this, but I'm even comfortable moving this from one to one point maybe three or four. Let's give that one more test. Again, I like to give myself just a little bit of sliver here because the more you have in there, the longer it takes. I always like to have it back here to see how blurry the stuff in the back really is. That looks really good. Again, we could even go up to like 1.6 and that's where I'm probably going to stay. Because I don't want everything to be so blurry. At the end of the day, this looks good for now. Yeah, I'm actually satisfied. I'm just going to add a bump. A subtle bump to this texture here, the floor texture. I'm just going to go noise, click on the noise here and go to Paxil again, and bring this down. You can see the noise going on here. If I want to make this a little bit smaller because we are zoomed in like 50, then take this bump down to like 8. I'm going to be happy with that. Just to make sure even though we're not even going to be able to see this because the shallow depth of field. Let's see what we can see. Yes, so not too much, but definitely something there. I'm happy with that. The last thing we want to do is reapply this texture here that's on the pills. Because remember we got rid of that. Now we want to drag this protection tag back on the camera just in case. Everything should be good now, everything is layered correctly. Everything is where it is supposed to be. 9. Render Settings: Now, we can worry about bumping this out and rendering it. We're going to bring down this Render tab window, and worry about this. First, we're going to start in the physical here. We're going to go from progressive to fixed. We're going to take this to medium. I usually actually bump this to somewhere around five. That looks good. Then, for the cleanest quality images, I don't really like to take any shortcuts to make these things really pixelated, so I go four, four, four, and because we're using subsurface scattering, take that to four. All looks good there. Animate occlusion, make sure evaluate transparency's on. I always check that on because it helps glass look better. We're not really using any glass, so it really doesn't matter for this one. We're going to the global elimination tab, go to custom sample count, and I usually put this to something like 150. Again, every one's computer can handle things differently. I've a pretty decent computer, but nothing crazy. It's a Mac. I don't use octane obviously, but this looks good and everything should be where it looks. Then, we're going to the output. The last thing here, and make sure the width. Let's lock the ratio here as we like to adjust one value and we're just going to 1080. We should be good. This is all you have to worry about before rendering these images out. We're just going to click Render here, and everything looks according to plan. Once this finishes rendering, we're going to follow up with the Photoshop part. 10. Post Work in Photoshop: Hi guys. We're back and it looks like this only took around 35 minutes to render. I know it's a long time for one frame but the way I see it, the more realistic you want it, the more you're going to wait. Even the best computers will take some time. This looks good. What we're going to do is right click this, Save As, and we're going to save it as a 16-bit tiff. It's going to be real flat but it'll let us color this thing much more. It'll be nice. Tutorial render one, we'll save that where we want it. We're going to open up Photoshop. Let's go to where I saved it and drag this in here. We got this open right now. It looks pretty nice. What we're going to do is first thing, command J, which duplicates the layer. Always good to edit non-destructively. If you really want to edit non-destructively I would convert to smart filters because this will allow us to go back within our camera raw filter that we're about to open up right now and edit things non-destructively. The first thing I usually do is check the vibrance, see how much color I want on this thing. Already I'd say at 40, this looks pretty cool. I was moving up the blacks, as you can see, very flat. But we're going to get some of those contrasts back in simply by adding, you guessed it, contrast. That looks good for now. A lot of people ask me how I get that grain effect, that photo-realistic grain effect. If you see there's just a tiny bit of natural grain, I guess, but to really get this looking like a photo, we're going to go to the effects tab and add some grain. This looks nice like this. With this particular resolution I'm at I usually don't have to mess with the size. Sometimes I go down a little bit. This looks pretty good. It all depends on how it looks from this view. That looks good like that. Next thing we're going to go to is the split toning. A lot of times I'll add little bit of red here, give it some warmth and maybe take this down to the browns, give it that earthy tone. Take the highlights and move them to maybe 17 and go more towards the blues. This split toning, it really adds for before and after. It definitely gives it a color vibe. One that I think looks retro and natural and it works really well with a lot of times the grain that we added. But if you go back over here, I always like to test the temperatures to end this off. For this image, we don't have to do that much. It already looks pretty decent. Add a little bit more contrast. Looking at it again. Maybe add some blues and some greens, and tweak these how we see fit. But to me this looks pretty good. We ended up only having one degree change in temperature, adding a little bit of blue, maybe adding a little bit of vibrance. But this really looks good to me and I don't see any problems with this. Maybe adjusting the shadows a little bit. But we see here nothing's really peak the whites and nothing's really going too far below the blacks at all. I'm happy with this. If you want to see this compared to the very first unedited image, it's a much better look and feel. This looks cleaner. There's no grain. But we want that photo-realistic quality. We can see this looks much better, at least in my view. But again, all of this stuff, edit how you want, how you see fit and I click okay. You can see the before and after because we added this extra layer. Because we are using smart filters, all we have to do is click and we're back with all these settings. We double-click the Camera Raw button. It's non-destructive, which is a very good thing. Then we're just going to save this out File, Export, say for web, we're going to save to Instagram. This little window here I always make sure I'm on JPEG, Optimized, this check down and the quality is set to a 100 and we're only using about one megabyte, which is very good. 1080 by 1080. We're just going to save this like it is. Tutorial render one and save that. That's it for this one guys. Appreciate you guys tuning in. Until the next tutorial, we'll be making something else, something maybe more crazy than this. I appreciate you guys tuning in and checking this out. Take it easy.